It’s hard to call one’s self a critic, or even an avid film enthusiast, without a top ten list to show for it at the end of the year. Granted, a year has not gone by in a couple of decades in which I haven’t put one together. However, if a list isn’t posted on the internet, does it really make a sound.

I originally intended for this to be smaller venture, but I couldn’t resist going a bit overboard. In result, I’ve done up a complete list counting down every movie that I’ve seen this year. It’s ranked, of course, since nothing seems to bring me better pleasure in life than ranking film-related material. It all leads up the my finalized top ten films of 2015. I’ve also thrown in an anecdote or two about each film, summing up what they all left me with.

Feel free to peruse, and stay tuned for the winners of the 6th Annual Edgy Awards in the coming week. Then, it’s officially on to 2016…

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76. “San Andreas” – All of the endless forms of transportation utilized in this film couldn’t keep it from being the worst of the year. Too many ways to describe how horrid this film really is.

75. “Green Inferno” – What’s really hilarious is that this one of the better films I’ve seen by Eli Roth. Quite a curve he’s working on.

74. “Jupiter Ascending” – The apple falls very far from “The Matrix.” Creativity is abound, but any form of intelligence is out to lunch.

73. “The Cobbler” – Adam Sandler doesn’t need to cross his eyes or dress up like a woman for this film to be just as bad as the all the rest. Hard to believe the film’s writer/director created this mindless mess, while also helming one of the year’s best.

72. “Chappie” – One has to wonder exactly what happened to Neill Blomkamp’s talent, or if he ever had much to begin with? This film is pretentious in its own mindlessness and often times feels flat out alienating to its viewers.

71. “Blackhat” – The least thrilling thriller of the year. Sidebar: As a pioneer of digital filmmaking, why does Michael Mann insist in shooting with technologies that look like they’ve been dead for at least a decade?

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70. “Aloha” – Cameron Crowe has really made himself the poster boy for “white people problem” movies. Emma Stone’s casting is just the icing on the cake.

69. “Serena” – An exhaustingly boring film to choke down. The magical chemistry of Cooper and Lawrence just could not bridge enough decades to fit this period piece.

68. “Goosebumps” – One couldn’t really go into this movie expecting a lot, but one could at least hope it could deliver a healthy dose of nostalgia. It did not.

67. “Poltergeist” – I’d like to think that Rosemary DeWitt and Sam Rockwell could have knocked this out with a better script, but this film starts out “meh” and get’s worse along the way.

66. “Hot Girls Wanted” – Call me a sexist, but this ultimately feels like a documentary about people with job remorse. They can somehow try to spin this as abuse, but ultimately these girls all made their beds and now don’t want to sleep in them.

65. “Maggie” – Believe it or not, this flop is not Arnold’s fault. He certainly gives it his all in a beautifully understated role, but the film seems to be lacking in nearly all other arenas.

64. “Ricki and the Flash” – Despite a few decent musical numbers and a few satisfying moments, this film is jumbled full of characters who just don’t make a lot of sense.

63. “Crimson Peak” – Designed within an inch of it’s life, and don’t get me wrong, it’s gorgeous. However, the over-the-top story and characters strongly reduce any creepy scares or tension.

62. “Stonewall” – I’m usually not one to complain about historical inaccuracies, because they’re ultimately unavoidable to create a story. However, in this case, they seem to really get in the way of the story rather than aid it.

61. “Burnt” – This just isn’t Bradley Cooper’s year. Much like “Chef” last year, this film seems far more interested in generating food porn than creating decent conflict for its characters.

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60. “Legend” – Tom Hardy has had some great performances this year and this is certainly no exception. The film starts out strong, and then falls victim to severe repetition, making it feel at least 30 minutes too long.

59. “Child 44” – Speaking of overlong Tom Hardy movies, this film’s heart is in the right place. Yet, as a functioning mystery, it lacks a real drive towards finding a satisfying solution.

58. “Youth” – Easily one of the most ostentatious films I’ve ever seen in my life. Tries so hard to invoke a Felliniesque quality (for shame), but instead comes up cold and distant. However, it is highlighted by the performance of Harvey Keitel’s career.

57. “Southpaw” – Oh so very by the numbers boxing movie. Sure the template is effective, but it certainly doesn’t make it worth watching. If there were a reason, it’s Jake Gyllenhaal, who’s electric, once again.

56. “Mr Holmes” – The character element of an aging Sherlock Holmes is intriguing, and is a match made in heaven with Sir Ian McKellen. However, as a whole, the movie is ultimately a bore.

55. “The Wolfpack” – The film seems to want to keep everything as cut and dry as possible, but at least a little production value might have been an improvement. At times, I sometimes felt that weirdness of this family was really worthy of a feature-length doc.

54. “Digging for Fire” – I never was a fan of Joe Swanberg’s version of mumblecore. Here, he has by far the most elaborate cast and production and he just doesn’t seem to know what to do with it.

53. “Spy” – It’s no “The Heat” and certainly no “Bridesmaids”. There certainly are a flourish of funny moments, but not enough to make this film thoroughly worthwhile.

52. “The Hunting Ground” – Overall, this documentary is flawed and, honestly, more than a little irresponsible. The film functions 100% as an advocacy piece and purposely avoids opposing viewpoints or data. The strongest parts of the movie are the testimonials of the victims. Yet, the decision to prominently feature the widely discredited Erica Kinsman case and report it as virtual fact is detrimental to the impact of the other survivors’ stories.

51. “American Ultra” – Jesse Eisenberg proves once again that he can carry the weight of a variety of films. However, the absurdity of the plot cannot be balanced out with the sharp direction.

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50. “Z for Zachariah” – When you set out to create a post-apocalyptic film on a low-key scale, you better have the story to back it up. This one does not quite pull it off, but does feature surprising performances by it’s three leads.

49. “Anomalisa” – Despite hovering around the middle of my list, I would probably consider this most disappointing film of the year, or at least the most overrated. A massive undertaking, but equally pretentious, as well as being the least entertaining film Charlie Kaufman has ever made.

48. “Trumbo” – Entertaining, insightful and finally featuring a breakout film role for Bryan Cranston. Still, I feel like this could have been much, much better.

47. “Truth” – Cate Blanchett gives a powerhouse performance. No surprise there. Yet, the film has a lot of difficulty maintaining a sense of tone and actually seems to contradict its own message.

46. “The Walk” – Gordon-Levitt’s goofy portrayal of Petit, as authentic as it may be, just grows irritating after a while. The actual rooftop scenes are more than a little harrowing, even with the outcome is already well documented.

45. “Tangerine” – Absolutely electric with live-wire energy, but it’s plot is really kind of apathetic towards its characters. One can only hope that the fantastic Mya Taylor is offered more well-deserved work in result of this.

44. “Everest” – Certain moments of the film are as harrowing as any you’ll see this year. Certain elements feel off kilter, though, in particular such an all star cast spread so thinly. Furthermore, the ending comes off less cathartic as it is straight-up depressing.

43. “Slow West” – A surprisingly colorful western with some fantastic set pieces that unfortunately feels like it is over before it even begins.

42. “Trainwreck” – It’s extremely refreshing to see a Judd Apatow film oozing with estrogen for a change. Amy Schumer carries the film well, though the weight really isn’t all that heavy.

41. “The Hateful Eight” – QT has never swung and missed completely, but in my mind, this is his second straight foul tip. The dialogue is not quite up to par for the auteur, and the film’s over the top nature nearly makes it irrelevant, anyway.

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40. “99 Homes” – Garfield and Shannon do a decent job of playing off each others’ engaging talents. Yet, as the film tries to find a middling conclusion, that satisfaction is lost in the shuffle.

39. “Straight Outta Compton” – Music biopics have certainly a lot more generic in the past, and the timeliness is certainly a strong factor with this story. Yet, like many films this year, the ending feels rushed, which is strange for a 150+ minute film.

38. “Joy” – As it turns out, not everything David O’Russell touches turns to gold. While very entertaining at times, the film misses the mark on a number of levels, in particular, it doesn’t really feature a third act.

37. “Bone Tomahawk” – There’s really no reason this film should work, and yet, somehow it does succeed on multiple levels. It’s certainly not high art by any means, but puts an interesting horror spin on the average western with absolutely no punches pulled.

36. “Dope” – For most part, the film is a thoroughly played out story of a teen boy getting buried in shenanigans for his dream girls affection. It’s an original spin, but not anything earth-shaking. It does bring it all together with a hell of a closing statement.

35. “Cobain: Montage of Heck” – A highly insightful and educating documentary, but at times it is over the top, even for telling a life story such as this one.

34. “Clouds of Sils Maria” – I will admit that this film can be relentlessly tedious at times. However, it’s peppered with a handful of revelatory moments. Kristen Stewart gives, what hopefully will be a career turning performance.

33. “Creed” – I have to say, as someone who has not so much respect for “Rocky”, I wanted to dislike this movie more than I ended up. It’s still a pretty basic story and the performances are nowhere near as grand as made out to be, but it is well excecuted. The one take fight scene is remarkable.

32. “Grandma” – Lily Tomlin sets the place on fire in this film that unabashedly takes on women’s issues in ways most films don’t dare touch. I just wish the film wasn’t one and done in the time of some network TV pilots.

31. “The Danish Girl” – Eddie Redmayne simply is getting better and better as an actor which each performance, and here, I believe he may have reached a peak (though I hope not). The performers give it their all, as well as the design team, but the film still feels a bit on the surface, as well as unfortunately “safe.”

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30. “Jurassic World” – I feel like this film has gone from anticipated to beloved to scrutinized to reviled by the general public. People just can’t let those heels rest. Without a doubt, the film has it’s flaws, but it’s still a rousing adventure with some legitimately thrilling scenes. Meanwhile, as Ray Arnold would say in the original: “It could have been worse…A LOT worse.”

29. “Suffragette” – This film really seemed to come and go without turning any heads. While not groundbreaking, it’s effective in a by-the-numbers fashion. Carey Mulligan gives a highly overlooked performance, as per usual. Her one on one with Brendan Gleason is dynamite acting.

28. “Love & Mercy” – Definitely the better of the two music biopics this year, with an interesting story structure. Paul Dano was passed over for what absolutely should have been his long time coming first Oscar nod. The movie could have done better than the “wrap-up” ending that it leaves you with.

27. “The Visit” – I have no shame counting myself among those believing M. Night Shymalan’s talent had gone the way of the Dodo. However, this surprising gem of genuine subjective filmmaking is as unnerving as it is hilarious (intentionally, this time).

26. “Black Mass” – It’s obvious that Scott Cooper is a director of extraordinary talents. I’ve often wished that his film’s scripts, whether self-written or not, measured up. Unfortunately, I’m still waiting after this film. What’s crucial here is possibly the best performance of Johnny Depp’s career. He electrifies every scene that he appears in.

25. “Ex Machina” – In some ways this little sci fi gem has a healthy dose of Hitchcock in it’s veins. Alicia Vikander has gotten all of the attention this year, for this performance or others, but Oscar Isaac is the true standout as J.D. Salinger meets Mark Zuckerberg.

24. “Me and Earl and the Dying Girl” – This film was heralded at Sundance as the second coming, so I was relieved to see it brought back down to earth by the mainstream critics. It’s certainly one of the best teen comedies to come out in the last decade, but at times, it feels more than a bit forced.

23. “Bridge of Spies” – I find it interesting how the 90-100 minutes of this film is nearly flawless. Everything is on point and the Tom Hanks embodies Jimmy Stewart even more than normal. However, during the third act, the once high stakes seem to drop through the floor.

22. “Beasts of No Nation” – The film does succeed in delivering several truly cathartic moments. Idris Elba nails his role as the sadistic, egocentric guerrilla leader. However, even a film like this should be able to deliver some entertainment value among all of the carnage.

21. “Cartel Land” – The perfect real-life counterpart for the similarly themed “Sicario”, succeeds very well. While the stories of the film’s two cross-border subjects. However, it’s the successes and horrors lived by the Mexican people as a whole that really stay with you.

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20. “Diary of a Teenage Girl” – Glad I decided to check out the independent beauty of a film. While at times, the rough edges can get a little under the skin, it’s a quirky, if not raunchy look at female sexuality and independence. Bel Powley shines, but Alexander Skarsgard steals his fair share of scenes.

19. “It Follows” – Saying that this is the best horror film of the year is stating the obvious. Director Mitchell understands that the most essential tool that separates the men from the boys in the horror genre is solid tone. He maintains it with thick atmosphere, haunting music and some of the most nightmarish wide shots you’ll ever see.

18. “Winter on Fire: Ukraine’s Fight for Freedom” – Advocacy pieces tend to work a lot better when in your corner you have footage of thousands of peaceful protestors being massacred in the street. Hard to put up an argument against a doc like this. By the end, it’s hard not wanting to take up arms alongside these brave individuals no different from any one of us.

17. “The End of the Tour” – Unlike “Anomalisa,” this film crafts a moving and highly involving film about depression. Jason Segel confirms what many have alluded to that with a little effort, he could very well be the next Tom Hanks. For as much as he will warm your heart in this film, he will also break it if you let him.

16. “Steve Jobs” – Admittedly, this is actually a lesser work for Aaron Sorkin. Yet even minor Sorkin is better than 90% of other screenplays written this year or any other. Michael Fassbender and Kate Winslet absolutely tear up the scenery, as if either knew how to do anything less.

15. “The Look of Silence” – While, in my opinion, not as quite as groundbreaking or intense as its counterpart “The Act of Killing,” it still presents an searing human rights argument in ways that will leave you stunned and breathless.

14. “Carol” – The best gay-themed romance film since “Brokeback Mountain” (though not nearly on the same artistic level as the latter). It is so because, while the setting and times may not have been conducive, the gay love story is just that: a love story, without questions or inhibitions, it’s as true and natural as anything “straight” cinema has to offer.

13. “Amy” – After a lot of deliberation, this does remain the highest ranked documentary I’ve seen this year. While it may not tackle oppression, human rights, or even Wall Street, it does paint a beautiful portrait of a highly visible yet little known artist. Insightful as anything else produced this year and edited with such a fine and steady touch.

12. “The Martian” – It’s interesting that Ridley Scott’s best film in nearly a decade is maybe the least “Ridleyesque” that he’s ever made. In this case, the film’s greatness is less a question of style as pure skill. Mixed with the tangible and entertaining script and Matt Damon’s magnetic performance, it’s impossible not to recommend this movie to anyone.

11. “The Big Short” – Obviously, this extravaganza of a film just barely missed my final cut, but by narrow margins. I have to say I was surprised that McKay was able to pull off not only the movie’s comedic prowess, but it’s deep, cutting message. “Short” leaves it all on the field and strikes quite a nerve in its wake.

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10. “Brooklyn”

Directed by John CrowleyWritten by Nick Hornby

This film is a harkening back to the glory days of post-war America, capturing a time when possibilities and opportunity were boundless and the American dream was still plausible. In many ways, the filmmaking style is one in the same, embodying the simple but golden age of filmmaking. It succeeds on both fronts, and does not overreach for either goal. Saoirse Ronan is pitch perfect and Emory Cohen continues to make his case for better roles. A thoroughly satisfying film, start to finish.

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9. “45 Years”

Written and Directed byAndrew Haigh

I had read one critical analysis of this film that compared it in so many ways to a ghost story. However, the characters are haunted by something much more real and tangible: the past. You feel it lurking in the wind, around the corner and up in that horrible, horrible attic. Saying this film is subtle is an understatement, and it takes an effort to let the film pay off. The rewards are as tragic and thought-provoking as anything you’ll see this year.

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8. “The Revenant”

It’s hard to tell at this point whether this film is over or underrated, and I suppose it could swing both ways. The film had such high expectations, anything less than a masterpiece is a bit disappointing. A masterpiece it’s not, but still a magnificent example of filmmakers laying it all on the line to achieve their vision. Said vision is something that everyone who can stomach it should experience in all of it’s majesty. It somehow seems to expand the limits of what cinema can offer, mostly by using natural techniques. At the same time, the heavily computerized bear attack will go down as one of the most harrowing scenes in film history.

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7. “Sicario”

Directed by Denis VilleneuveWritten by Taylor Sheridan

Without a doubt, there is no filmmaker working today that I am more excited about than Denis Villeneuve. I am floored by the way he can captivate his audience. With this film, he touches on a level of intensity I’ve seldom, if ever seen, in American filmmaking. There is literally no point in this film in which any of the characters seem safe. Those are stakes often taken for granted in this day and age. Emily Blunt delivers a fine performance of grounded strength. Meanwhile, this may not be the undisputed finest role of Benicio’s career, but it’s definitely one for the books.

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6. “Star Wars: The Force Awakens”

Let’s be frank about this: I am still pinching myself. Never in my life could I imagine that the single most anticipated sequel in cinematic history, of a series that is just about the most sacred form of nostalgia that I hold dear, would not only meet expectations, but in some ways surpass them. J.J. Abrams can go ahead and retire now, for it will be a tall order for him ever to top this achievement. Props furthermore for Disney for reinventing the film franchise without alienating it. Against all odds, we have a Star Wars installment to show future generations without it being prefaced by an apology.

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5. “Room”

Directed by Lenny AbrahamsonWritten by Emma Donoghue

Even if this was a total bust (which, thankfully, it most certainly is not), it would still go down as the film that heralded Brie Larson as the best young actress working in Hollywood today. I was already on board after granting her my Best Actress Edgy award for “Short Term 12”, two years ago, however, it will be nice to know that we’re now all on the same page. The movie itself is a work of beauty, inspiration and life-affirmation. You would be hard-pressed not to break down into tears at least once during the runtime. A lot of credit is due to director Lenny Abrahamson. Without his steady hand, this could have easily slipped into Lifetime movie territory.

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4. “Mad Max: Fury Road”

Directed by George MillerWritten by Nick Lathouris, Brendan McCarthy and George Miller

There is no film released last year that I have re-watched more times than this one. Through and through, my mind echoes the same sentiment as when I emerged from my first viewing: this may well be the best straight-up action film EVER made. Furthermore, no film from 2015 did more to subvert my own expectations, which bolsters the previous statement even more. How much can a self-respecting film aficionado anticipates brilliance from half-naked renegades performing drive-bys on each other in a post-apocalyptic expanse. Now, it’s a benchmark achievement. George Miller deserves every accolade that he received (as well as all those he didn’t), for helming this perfect storm of design, style, craft and controlled mayhem.

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3. “Son of Saul”

Directed by Laszlo NemesWritten by Laszlo Nemes and Clara Royer

Let’s preface by saying that I am still in the camp of “Schindler’s List” being a pure masterpiece in ever way, as well as the best film to date about the Holocaust, a mantel not likely to be toppled. However, for those that believe that this topic (really a genre, in itself) is one and done, this film will lay you out. Without a doubt, the most physically paralyzing and emotionally devastating film since at least “12 Years a Slave”, if not further from there. Debut filmmaker Nemes ought never make another film for this will be tough to top. Be prepared to leave this film with a heavy heart, for the bleeding from the scars of this inconceivable period of history will never stop, just as films like this should never stop being made.

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2. “Spotlight”

Directed by Thomas McCarthyWritten by Thomas McCarthy and Josh Singer

Most years, my number one favorite film is a clear cut choice with no question. This year, it was a touch choice, and with not much more than a coin flip, this could be my Best Pic. Easily the best film about journalism since “All the President’s Men” almost 40 years prior. It’s importance lies not in its subject matter (which is both heartbreaking and galvanizing), but in its demand for an inquisitive and ruthless free press. This is old school filmmaking at its finest. “Spotlight” could have been made forty years ago or forty years from now and it would still have the same impact, because superior acting, direction and damn near perfect writing never go out of style.

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1. “Inside Out”

This is the first time in not only my short lifetime, but in the entire breadth of cinema that I’ve been recording top ten lists, that an animated film has achieved my top spot for the year. This is no coincidence or chance, it’s simply that no animated film has ever reached the heights that this movie has. I recall being in the theater as the climax approached, and I found myself weeping. Not because of the film’s emotional impact (which is enough to weep gallons, on its own), but because I was floored at just how damn good it turned out to be.

Much like last year’s best film, “Boyhood”, this is a coming of age film. And just like its counterpart, “Inside Out” tackles the genre in ways you’ve never seen before. Both Riley’s story itself and the personification of her emotions are as intelligent as they are creative, and as hilarious as they are cathartic. This is the best film of 2015, the best film Pixar has ever produced, and quite possibly, the greatest animated movie in cinematic history.

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Well, I must admit, that was a bit more of an undertaking than I had anticipated. Hope you all enjoyed it. Stay tuned for the winners of the 6th Annual Edgy Awards, coming soon…

After 2 years showing up really late to the party, I was determined to get these done on schedule this time around. Overall, a pretty great year for film, or at least a significant one, if nothing else. Plenty of achievements and landmarks to be seen and experienced, so it’s only right to award the best of the best.

To remind everyone, while there may only be five editions of the Edgies available online, the awards are cataloged by yours truly going all the way back to 1940. The recipients’ nomination and win counts are grouped according to each category, with the exception of the two music categories and the four acting categories being linked.

Enjoy…

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BEST ORIGINAL SONG

“Cold One“
featured in “Ricki and the Flash”
Music and Lyrics by Jenny Lewis (1st nom) and Jonathan Rice (1st nom)

“It’s My Turn Now“
featured in “Dope”
Music and Lyrics by Pharrell Williams (1st nom)

“One Kind of Love“
featured in “Love and Mercy”
Music and Lyrics by Brian Wilson (1st nom)

“Simple Song #3“
featured in “Youth”
Music and Lyrics by David Lang

“Till It Happens to You“
featured in “The Hunting Ground”
Music and Lyrics by Lady Gaga (1st nom) and Diane Warren (4th nom, 1 win – “I Don’t Want to Miss a Thing”)

Great year for film. My own picks for the 6th Annual Edgy Awards will commence later this week. Meanwhile, here are my predictions for that other awards show.

I’ve never understood not waiting until the last minute. I soak up every final thought. Last year, I really went all out with the notion of using my heart instead of my head. I crashed and burned, pulling in one of my worst percentages in a decade. This year, I’m all business. Happy Oscars…

Let’s get this show on the road. Below are my picks for the best in each category from the 2014 movie season. I threw in a slew of fun categories at the end, for shits and giggles. Feel free to enjoy and comment if you like. Soon, I’ll be moving on to the current year at hand.

And the winners of the 5th Annual Edgy Awards are:

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BEST ORIGINAL SONG

“Lost Stars” featured in “Begin Again”

Music and Lyrics by Gregg Alexander (1st win) and Danielle Brisebois (1st win)

BEST ACTOR in a LEADING ROLE

Michael Keaton – “Birdman or the Unexpected Virtue of Ignorance”

BEST DIRECTOR

Bennett Miller – “Foxcatcher”

2nd Win

Runner-Up: Richard Linklater – “Boyhood”

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BEST MOTION PICTURE of the YEAR

“Boyhood”

Runner-Up: “Birdman or the Unexpected Virtue of Ignorance”

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Some say that this movie is all hype; a cinematic stunt that’s quality doesn’t measure up to the bar set by it’s premise. This could not be further from reality. The truth is that there has never been anything quite like this film and likely will not be again. Beyond the 12 year hook, which in and of itself is something to marvel at, “Boyhood” is a phenomenal collaboration between Richard Linklater’s extraordinary vision and the dedicated performers bringing it to life. The film takes what someone might consider insignificant moments in the life of an adolescent boy, and proves them to not only be the moments that matter, but a window into the soul. This may be the most impacting and influential film of the decade. Bravo.

As mentioned, here’s a collection of victors whose feats can’t really be honored in traditional categories. Therefore, the only way to give due props is to make up all new ones. I’ll then close it out with my ranked top ten list, which closes out 2014 and moves us on to what’s currently playing at a theater near you.

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FUNNIEST FILM

“The Lego Movie”

MOST EXCITING FILM

“Edge of Tomorrow”

MOST EMOTIONALLY MOVING FILM

“Boyhood”

MOST SURPRISING FILM

“Pride”

MOST DISAPPOINTING FILM

“American Sniper”

MOST UNDERRATED FILM

“A Most Violent Year”

MOST OVERRATED FILM

“The Theory of Everything”

BEST PROTAGONIST

Alan Turing – “The Imitation Game”

BEST ANTAGONIST

Amy Dunne – “Gone Girl”

BEST ANTI-HERO

Louis Bloom – “Nightcrawler”

BEST ROMANCE

John and Alice Howland – “Still Alice”

BEST RIVALRY

Mark Schultz, David Schultz and John du Pont – “Foxcatcher”

BEST OPENING

“Birdman or the Unexpected Virtue of Ignorance”

BEST ENDING

“Whiplash”

BEST SCENE

Bread and Roses – “Pride”

BEST LINE OF DIALOGUE

Terence Fletcher: “There are no two words in the English language more harmful than ‘good job’.”

Not much to get into here. I’m once again a year late on this. Obviously, I’m presently hip deep sorting through everything 2015 had to offer and scrambling to see as much as possible before putting it all together in superlative form. Hopefully this year, I’ll be able to get my shit together in a reasonable amount of time. If what I did made any sense, you’d be reading that list right now.

Alas, you can’t have a 6th Annual Edgy Awards without the 5th. To refresh, while there may only be five rounds of these available online, the Edgies are cataloged by yours truly going all the way back to 1940. The recipients’ nomination and win counts are grouped according to each category, with the exception of the two music categories and the four acting categories being linked.

Here are the nominees:

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BEST ORIGINAL SONG

“Everything is Awesome“
featured in “The Lego Movie”
Music and Lyrics by Shawn Patterson (1st nom)

“Glory“
featured in “Selma”
Music and Lyrics by Common (1st nom) and John Legend (1st nom)

“Like a Fool“
featured in “Begin Again”
Music and Lyrics by John Carney (1st nom)

“Lost Stars“
featured in “Begin Again”
Music and Lyrics by Gregg Alexander (1st nom) and Danielle Brisebois (1st nom)

“Not About Angels“
featured in “The Fault in Our Stars”
Music and Birdy (1st nom)

“Guardians of the Galaxy“Eizabeth Yianni-Georgiou (1st nom) and David White (1st nom)

“Snowpiercer“Paul Price (1st nom) and Jeremy Woodhead (1st nom)

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BEST VISUAL EFFECTS

“Dawn of the Planet of the Apes”Daniel Barrett (2nd nom, 1 win – “Rise of the Planet of the Apes”), Dan Lemmon (2nd nom, 1 win – “Rise of the Planet of the Apes”), Joe Letteri (8th nom, 5 wins – “The Hobbit: An Unexpected Journey,” “Rise of the Planet of the Apes,” “Avatar,” “LOTR: The Return of the King,” and “LOTR: The Two Towers”) and Erik Winquist (1st nom)

The Oscars are down to minutes away and I was unbearably close to not even posting my predictions, and not just because I expect to do terrible in my guesses. There’s a number of reasons that predicting this year’s big night just seems a mute point and it has been a growing fundamental for the last couple of years. That precedent is, well, the end of all precedents.

Outside of gut instinct and sticking a wet finger up to feel which way the wind is blowing, the strongest aid in predicting the Oscars is looking back at what history as taught us. And no matter which way you roll the dice, this year, history goes right out the window.

For example, it’s clear that the two frontrunners in this year’s Best Picture race are “Birdman” and “Boyhood,” the attack of the killer Bs. Both are stellar films finding themselves at the tip-top of my favorites list, however, both films have a lot stacked against them, at this point in the race. “Birdman” has racked up wins with the Producers Guild, the Directors Guild and the Screen Actors Guild. The last time a film won that trifecta and lost the big prize was 19 years ago when “Apollo 13” lost to “Braveheart” in 1996. Meanwhile, “Boyhood” recently won the British Academy Award for Best Picture, an award that has lined up with Oscar for 6 years straight.

Perhaps the biggest precedent of them all is the one that Oscar prognosticators like myself can always fall back on for comfort, and that is the editors. As of this year, no film has won Best Picture without a nomination for Best Editing in 34 YEARS. “Birdman” would be the first since “Ordinary People” took down “Raging Bull” in 1981. Some might consider this a technicality with the whole “one shot” concept and that the editors simply didn’t understand or notice the intricacy and complexity of making such seamless cuts, but I think the editors are smarter than that.

Meanwhile, if the frontrunners manage to split and either “Selma,” or “The Grand Budapest Hotel” manages to upset, than one has to ask what they hell we’re all even doing here, from a predictions standpoint.

Anyway, I rail all this out, but we all know I’ll still be here trying my luck for years and years to come. But first things first, see below for my predicted winners, my runner-up guesses and my picks for if I had a vote. These favorites, of course, come just from the nominees. I’ll be doing my overall picks at the 5th Annual Edgy Awards over the next few weeks.

Here’s to the night and the history:

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BEST MOTION PICTURE of the YEAR

WILL WIN: “Boyhood”
MIGHT WIN: “Birdman or (The Unexpected Virtue of Ignorance)”
SHOULD WIN: “Boyhood”

I didn’t commit to writing up my Top Ten List for last year. Under normal circumstances, one would think such circumstances would provide an element of suspense going through these awards. Any other year, that might be true, but unfortunately there was a heavyweight that didn’t have much trouble cleaning up the lion’s share of the categories. In fact, not since “The Return of the King,” and before that “Schindler’s List.” has a single film taken out the competition as extensively as, well…you’ll find out soon enough.

I’ve tried to provide as many video clips as possible, to help to justify my decisions here. No winner would also be complete without a runner-up because my labor of indecision is insurmountable. Finally, once you’ve seen what’s been crowned the top honors, keep scrolling for some fun extra awards that will tie up any loose ends of 2014.

Without further adieu, here are the winners of the 4th Annual Edgy Awards: